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Hello everyone,

I have two issues with VST3 plugins in Renoise on Linux:

1. Most VST3 Plugins have the wrong window size when opened for the first time. After closing and reopening again the window size is correct.

2. When a maximized window (such as a web browser or file manager) is above the Renoise main window, and I raise a VST3 Plugin so that it is above the web browser, the VST3 window is not redrawn. VST2 Plugins do not have this issue.

I use the Openbox window manager. Maybe that’s a factor

Off topic:
I would like to raise and minimize plugin windows independently from the main Renoise window.
Currently this seems to be impossible, and can be a big annoyance.

My System:
Renoise 3.4.4 (Interface Scaling: Auto, but other settings show the same behavior)
Display Resolution: 1920x1080
AMD64 APU
Debian 12
Openbox window manager

Best Regards

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Since the piano keyboard colors are fixed values of black and white, when the Selection Back color is black or white, the state of the keyscale display is obscured.
It would be useful to add a new color setting for the black and white keys on the piano keyboard (perhaps this is preferred) or a new color setting to replace the Selection Back in the key scale display.

It is not uncommon for various Themes to be incongruous only with respect to the color of the piano keyboard.
Considering the design consistency of the various Themes, it seems problematic to have fixed colors for the black and white keys.
I imagine that it is not always necessary to use a fixed color, since it is possible to distinguish which keys are black and which are white by their shape.
If you add new colors for black keys (default color is black) and white keys (default color is white) and only allow them to be set in themes newly created or modified by the user, I assume this will not affect existing themes.

Please consider implementing this.

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Hi!

I am trying to use my akai pads with polyaftertouch which I see are recognized in the midi monitor after activating polyaftertouch in the midi settings. My plan is to use the 12 Akai pad’s polyaftertouch to control 12 different effects parameters or macros

So as I understood Polyphonic aftertouch messages are basically velocity value changes before a note off message. I checked that and I can hear the loudness level of the loaded synth reacting to the polyaftertouch changes.

My conclusion was to use the velocity tracker meta module to route this signal to a parameter in the effects chain or maybe a macro control.

unfortunately the velocity tracker only reacts to the initial velocity data not the subsequent polyaftertouch velocity data.
What I could achieve was to use the velocity tracker signal in the modulation tab. I can see the polyaftertouch reacting constantly. but how can I get this signal into the effects tab…

Is there something I missed?

to reproduce:

• new song
• load basic waveform into instrument 0
• test polyaftertouch in midi monior and with loudnesscontrol of the instrument 0
• load bitcrusher 0%wet 0%dry
• load velocity tracker into effect chain
• route velocity tracker to bitcrusher wet mix and observe no reaction to polyaftertouch

br seb

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hello, on renoise you are all very strong and I wonder about the place of amateur home studio in the world of renoise or another daw…
but how do you manage to reach such a sound level, I think about it, and I even think that you must have grown up with renoise or other daws…
as for me I have a very slow progression, I will never reach your level despite all my efforts or else I will need a second life or a third ear lol
to close the parenthesis continue like that and even if sometimes we get lost in your universes I still take pleasure in listening to you and of course in creating…
renoise’s approach is particular but more direct than any daw, in a few minutes a sound can be created the hardest part is to structure the piece with coherent arrangements…
here is renoiser
see you later

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Click to view the poll.

If your screen resolution is not listed, you can add it in the comments. You can vote for multiple resolutions if you have multiple monitors. Please be honest!

Thanks for participating!

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The synthesizer plug-in does not seem to be able to play duplicate keys in a scale in succession.
This is inconvenient because it is an unintended behavior when playing with scales.

1. assign a plug-in synthesizer to the instrument
2. play zxcv on the computer keyboard
   → The c note on the computer keyboard sounds.
3. Set the scale to Penta.Major
4. Play zxcv on the computer keyboard

The c on the computer keyboard does not sound.
(But the performance with the sample does not seem to be a problem.)

The c on the computer keyboard does sound.

• OS: Arch Linux x86_64
• renoise 3.4.4-1
• alsa-lib 1.2.12-1
• libx11 1.8.10-1
• gcc-libs 14.2.1+r134+gab884fffe3fc-1
• surge-xt-vst3 1.3.4-2
• sway-git 1.10.r7438.c90cb37-1
• wlroots-git 0.19.0.r7240.ab118042-1
• linux 6.11.1.arch1-1
• mesa 1:24.2.3-1

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Hi everyone!

I’ve been using Renoise for a long time, and we’ve often discussed potential new features on the forum. Recently, I came across an interesting tool on GitHub that I think could be a great addition to Renoise. It’s a system for morphing between two sound fragments, which could really enhance sound processing capabilities.

Additionally, this tool could be used for sound resynthesis, allowing a transformation from a regular sample into a resynthesized fragment. This not only opens up more creative possibilities but could also help reduce the file size for storage on hard drives.

Could the Renoise team consider reaching out to the developer of this tool and possibly integrating their technology into the program? I think it could open up a lot of new possibilities for users.

I’d love to hear your thoughts!

Example

Morphex Demo

A Spectral Morphing Synthesizer. Contribute to MarcSM/morphex development by creating an account on GitHub.

Additionally, I would like to point out that this plugin currently seems abandoned and is just sitting there unused. It would be great to give it a second life and find a way to integrate it into our favorite application.

Have nice day!

Alexey

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After a long Renoise break, I’m diving into Redux, using Max as a host. Offset triggering and macros are very cool! Some questions I haven’t figured out yet:

• Is there a faster way to map phrases to keys? It’s a bit tedious going one-by-one, plus every time I drag one in, it takes up a whole octave. Would be nice to at least have a default range size, or a way to copy a range and then drag a phrase on top of an existing one to replace it - maybe this messes with some UI logic around duplicate phrases?
• How can I control these with MIDI CCs: LPB, TPL, sample start? Or is that not a thing?

Also the keyboard on the phrase key mapper is very short when editing. Would be cool if this could be extended or, better yet, popped in as a tab alongside waveform editor, effect editor, etc. It gets nice and big if I collapse the editor, but that kind of defeats the purpose, since if I’m not editing it, I probably won’t look at the keyboard.

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Please consider adding an option to hide directories and files that start with a dot in some representation. It can be a button or a hamburger menu.
On UNIX-like operating systems such as macOS and Linux, these are called hidden files, and we usually like to keep them invisible.

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Google Drive file.

I hope this might help

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Hi!

I am currently evaluating Renoise and i really love the sampler, effect and modulation possibilities. I dont really use the sequencer as I want to use it as a sampler to play with my Keyboard, and there I have one problem:

When I play a sequence with my midi controller sometimes notes don’t trigger. Its quite random and not really reproducible. I can see the midi messages in the midi monitor and I checked if all of the are there so it cannot be the keyboard itself. I can see the “missing” notesö.

any Ideas or suggestions are highly appreciated.
br
Seb

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I accidentally renamed a group of plugins to the same name of another one and now they’ve been added to the other group.
Am I correct that you can only ungroup 1 plugin at a time, not multi select multiple plugins holding shift and/or ctrl and then ungroup them?

If you have made a group inside another group, is there an easier way to drag the group outside of the group it’s in, like dragging a folder in windows explorer? The manual isn’t really clear for me; Plugin - Renoise User Manual .

I thought I could move the wrongly added plugins through adding them to a new group, but this creates a new group inside the other group, instead of making a new group folder in the main tree, if you get what I’m saying

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Hi Guys,

where do i find Stutter in renoise, i’ve 3.4 and can’t find it
It’s the same as Gross Beat?

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Listen to Halloween 2024, an album by HeartBeatHero on #SoundCloud

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Halloween is back
here is a song made a few days ago
in the meantime…
enjoy listening
see you soon

The House Haunted

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Hello, everyone! Yes, another parallel processing thread.

As you probably know, native parallel processing is somewhat limited in Renoise. Some DAWs implement it with “racks” (such as Ableton Live and Bitwig) or even containers (Reaper). In Renoise, however, a few tricks must be used in order to achieve such thing, the first and most obvious one being the Sampler FX tab - now hang in there.

After a short discussion with some folks in the Facebook group chat (yes, some people still use Facebook), I decided to build a couple example projects to explain how parallel processing can be achieved natively.

My goal with the current thread is to sum up that discussion, serving as a reference for the future - at least until proper “effect racks” are (hopefuly) implemented in Renoise.

Feel free to complement this post with your own thoughts. And devs, check this thread for more ideas.

–

Method #1 - Sends and Returns

parallel processing example #1.xrns (778.6 KB)

Limitation 1: Cannot send signal to previous groups/tracks, only from left to right.

Limitation 2: Requires an extra Return channel for summing/bussing.

Explanation:

1. Create a Return channel (I’ll call it Wet).
2. Place your desired effect with 100% wet (if possible).
3. Place a send in Dry track. Keep the source.
4. (Optional) Create another Return track (I’ll call it Sum) to process the Dry+Wet signal together. Place a send on the Return #1 (Wet) AND another on the source track (dry). Mute source on both. Continue processing in Return #2 (Sum).

–

Method #2 - Sampler

parallel processing example #2.xrns (778.7 KB)

Limitation 1: Not compatible with VST plugins, only instruments/samples. You can also render your VST to samples to bypass this limitation.

Explanation:

1. Create a new instrument
2. Create a FX Chain in the Sampler window (F6)
3. Create one “lane” for your dry signal, one lane for your effect (wet), and one for summing. That’s a total of 3 FX chains.
4. Place two sends in lane #1 (dry): the first send with “Keep Source” enabled (goes to lane #2) and the second one with “Mute Source” (goes to lane #3).
5. Insert the desired effect in lane #2. In this example, we are using a compressor. Insert a send after the effect with “Mute Source”. Route it to lane #3.
   a. Lane #3 is going to be the sum of dry + wet signals (lanes 1+2), and your main output. Adjust sends in lane #1.

–

Method #3 - Sampler + Groups [my favorite]

parallel processing example #3.xrns (778.8 KB)

Limitations: Same as Method #2.

Explanation:

This is a variation of Method #2.

1. Insert two tracks in the mixer. Name them “Dry” and “Wet”. Group these.
2. Create a new instrument.
3. Create a FX Chain in the Sampler window (F6).
4. Create one “lane” for your dry signal and one lane for your effect (wet). That’s a total of 2 FX chains.
5. Place a send with “Keep Source” in lane #1 and send it to lane #2. Keep the second lane empty.
6. Route each lane to a separate track (the ones you created in step 1, Dry and Wet).
7. Place the desired FX on the “Wet” track that is receiving from Lane #2. If it has a dry/wet control, set it to 100%.
8. Adjust the faders to determine the balance between Dry and Wet. In this example, I reduced the Wet track -10db to match the volume with the dry uncompressed signal. Mute the Wet track to bypass the FX. Peak volume stays almost the same, but more ‘body’ is added to the signal.
9. Profit.

–

Suggestions? Critique? Notice any problems? Feel free to discuss.

Cheers.

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hi, how do i make it so that when i stop the sample recorder, i can detect that the sample has been saved, and THEN run a script?

the problem here is that if i use this:

i need to be able to modify the inserted sample. if i don’t use this, i already have a script working that integrates macros + samplefx + modulation mapping, autofade, autoseek, oneshot, loop, beatsync, oversampling, interpolation settings. but i need it to work if creating new samples or if creating to same instrument.

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Maybe you will like it First song finished in Renoise, I sampled my alpha base for the drums, the rest is sound designed in Pigments.

Been working on this for 2 or 3 months, I hope it makes sense and tells something.

Thanks for listening !!

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I am doing a tracker channel based on an esoteric fusion of Qabbala, Judaism and Sufism, “Nu Fi”.

Nu is actually the native deity for upright script! And this could be a good base for tracker trance.

I am a bit short on artists though (and many older are dead…) Any tracks / advice?

Nu Fi.

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